Lynn Chadwick, London

Lynn Chadwick was a late bloomer. With no formal training, he became a sculptor at the age of 35 and just six years later, in 1956, had pipped Alberto Giacometti to the sculpture prize at the Venice Biennale. Now a triple whammy of shows in London, New York and Berlin celebrating his centenary balance his greatest hits with lesser-known experiments. London's Blain/Southern has towering bronzes, including his spiky Teddy Boy And Girl, one of the works that earned him the big prize in Venice, and later, smaller wild animals conjured from angular planes of steel.

Blain/Southern, W1, to 28 Jun

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Richard Forster, Edinburgh

Richard Forster's painstaking reproductions of faded photographs in a rather pedestrian pencil drawing technique could be banal but instead they are enchanting. The original images are remarkable: retro 1920s semi-sexy nudes skipping about in Arcadian parklands; nostalgic 1950s photographs of childhood fairground rides; a set of featureless seascapes. Forster's technique is pictorially convincing yet on the face of it rather plodding, with its rubbed-in shading and fine gradations of grey, grey and more grey. Yet the overall effect is one of spellbound fascination. There's certainly something in the way the artist directs the viewer to concentrate on almost uncomfortable detail. He slows our attention down to make us stop and gaze.

Ingleby Gallery, to 21 Jun

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Everything Falls Faster Than An Anvil, London

Cartoons aren't kids' stuff in this show examining how artists have tapped into animated worlds. Curator CHEWDAY'S has pitted greats such as John Wesley and Philip Guston, whose paintings of compulsive smokers and fragmented bodily bits are the degree zero of cartoon-inspired existential angst, against newer voices. Those include Tala Madani, whose depictions of men behaving badly suggest satirical newspaper cartoons, and Ella Kruglyanskaya's vampy, forthright femmes, who subvert the demure 1950s animations they recall. One of Carl Ostendarp's "drip murals" provides the show's eye-popping backdrop.

Pace London, W1, Frito 18 Jun

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Haggard Caravan, Westfield

The industrial ambience of The Calder, formerly the 19th-century Caddies Wainwright textile mill, meets its atmospheric match in Haggard Caravan, a sculpture and sound installation conceived by Tobias Madison, Emanuel Rossetti and Stefan Tcherepnin. The three artists are also core members of the group Solar Lice, who contribute a noise/music cacophony sampled from the river Calder, which flows beneath the gallery, and a collage of Serge modular synthesizer improvisations. A 30-metre-long concrete wall embedded with wire mesh sculptures combines with the surrounding sound to create an all-immersive abstract drama. The piece confirms the Hepworth Wakefield's determination to establish itself as an important art venue, while recognising the cultural history of the local area.

Hepworth Gallery: The Calder, to 1 Jun

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Andy Holden, Bristol

Andy Holden's art typically starts small. His 2010 breakout Tate Britain Art Now presentation featured a stone chip pilfered from a pyramid, which was then scaled up as a huge knitted boulder. The sprawling installation here, Maximum Irony! Maximum Sincerity, is equally large and began with Holden's rediscovered teenage manifesto for a new art movement. It revisits his formative years through a seven-part film and takes place within recreations of bygone hangouts, such as his first studio in his mum's utility room and his sticker-coated boyhood bedroom. It pulls off both a knowing look back at and a painfully poignant embrace of youth's fervour and foibles.

Spike Island, Sat to 29 Jun

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Mandy Payne, nr Derby

Sheffield's Grade II*-listed Park Hill flats are in the process of being reassessed as a modernist treasure. Yet, as the concrete blocks await gentrification, there is the danger of their brutalist grandeur being aesthetically dissolved. The Sheffield-based artist Mandy Payne recognises this in Between Places And Spaces, a series of unforgiving paintings of the flats. Payne often paints directly with aerosols on to concrete. Her compositions – bold arrangements of blank-faced geometric walls, empty windows and deserted walkways – similarly pull no pictorial punches.

Tarpey Gallery, Castle Donington, to 31 May

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Saskia Olde Wolbers, London

The strange tales Saskia Olde Wolbers spins are usually brought to life in eerie animations that look like state-of-the-art CGI but are in fact DIY creations fashioned with household junk. In these films, weird objects – some inscrutable, some recognisable as plants and animals – drip and morph in a void, while convoluted stories of betrayed lovers and lost children unfold. Her favourite narrators are unreliable: madmen and dreamers, who blur the lines between truth, fiction and memory, all of which means that Vincent Van Gogh's teenage residency in a Brixton Georgian house, where he supposedly fell for his landlady's daughter, must have been irresistible material. Olde Wolbers's Artangel commission sees her turn the actual house into her set. The fable that's narrated as visitors pass from room to room takes as its starting point the 1970s tabloid furore around a postman's revelations about the house's tortured former occupant.

87 Hackford Road, SW9, Sat to 22 Jun

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Bury Text Festival

Launching Bury's new Sculpture Centre with a text-based festival might seem unfitting, but the poetic use of words here constitutes an aural and tactile spectacle. In a series of contemporary language art exhibitions, readings and performances, the written word is taken off the page. The French-Norwegian poet Caroline Bergvall's performance today promises to be an amazement of cross-associational imagery. Other highlights include a neo-dada "anti-choir" and New York artist Lawrence Weiner presenting a choice selection of his beguilingly cryptic sculptural text installations.